Instead, “Dear Mr. Brody” is about the letters, with the film making a respectful point to explicitly say that it wants to “honor” them. He is very aware of the sadness of these unopened letters and the despair they contain, multiplied by the thousands. The efforts here to honor them are indeed heroic, starting with having actors monologue songs on camera (with a scuffed audio track to push the authenticity of the period), or later, for the people who sent open letters and read them. strong decades later. While “Dear Mr. Brody” makes a slightly awkward narrative shift to focus on people, it becomes incredibly powerful with these different passages that illuminate the needs of people in the 1970s, which are often requests for money. specifics that they will use to help the way they live, or those they love. “Dear Mr. Brody” illustrates how when people are about to ask for money, it’s not like everyone wants to buy a sports car. As one person in the movie puts it, Brody’s actions made people think about what was most important to them, and as many referenced letters attest, that is not the right to money. True to the saying: it is “need, not greed”.
The deficiency of capitalism is an extremely depressing, stadium-sized force that is always on the horizon of this history; a force that Brody tried to fight with an idea that turned out not to be a plan, as much as an advertisement for peace and love. Maitland’s documentary, with its energetic visual style, makes the desire for these 1970s letters as current as it gets. The intentions of this documentary are magnificent and its belief in Americans past, present and future is a force to be reckoned with.
Paul Fronczak has lived a full and meaningful life, even though he doesn’t know how old he is. Or, where he was born. Her life is a bit of a mystery, as are the events in this story about a baby who was stolen from a Chicago hospital in the mid-1960s and then found in New Jersey two years later. That stolen baby was Paul, reunited with his parents, and then went on to live a life. Or is it not?
Such a story of hard left turns requires a good narrative balance, and Ursula Macfarlane’s documentary “The lost sonsMost of it. It’s initially set up so you won’t be worried about the missing baby, with a very early re-enactment showing an eight-year-old finding the headlines of his story. But then “The Lost Sons” begins to catch up with modern times and shows Paul’s life as a young man adjusting to this type of trauma he doesn’t understand. He becomes bassist, travels to Las Vegas, gets a double for George Clooney – these parts are not entirely interesting and the documentary loses some of its momentum. It’s halfway through “The Lost Sons” reveals that Paul didn’t know everything he thought he knew about his identity, and soars into this thrilling stranger of real crime and investigation that viewers love. . After all, who are the people who make its title plural?